..."Spiders never pee, nor parakeets suck"... Popular saying
Albert Thirion
Cuevas and Botero by Thirion (II)
Botero is more famous than Cuevas. Thus, because of Cuevas, Mexico is lost for being the center of Latin American art.
This is what Wikipedia says. Fernando Botero Angulo is a Colombian painter, sculptor and draftsman born on April 19, 1932 in Medellín (Antioquia). He is considered the most sought-after living artist from Latin America in the world today. Icon..
The emblematic figures of current Latin American art , says Mejía, and further on he affirms
There was always a common denominator between the artistic concepts and the works of both,
Veta Cuevas to Botero for not recognizing him
Jun 16, 2008 … The Mexican painter José Luis Cuevas assures that the Colombian found and made obesity a style thanks to him.
Www.reforma.com/cultura/articulo/446/891885/
I began to investigate a little about what is said about Cuevas and Botero, this is what is out there.
Saturday April 25, 2009
CAVES IN XALAPA
No one knows which artist is more repetitive and boring: Fernando Botero or Cuevas (is his name Fernando Cuevas? I can't remember anymore). An exhibition of engravings or something like that from Cuevas in Xalapa is being presented. The Ramón Alva de la Canal room is almost empty. The paintings? Engravings? they insist on repeating the same faces, the same bodies, the same grotesque figures that he has spent decades selling to some ignorant people. The exhibition is called, suspiciously, "Painted paintings during intercourse" or something like that. Title suspiciously similar to those of my books Tales for after making love, Tales for before making love, Tales IN PLACE of making love (The empire of women). Expressionless faces, misshapen bodies. What could be a provocation (paintings in which erotic scenes of great intensity were painted) turns out to be boring: nothing special, nothing original, a boring, bland sensuality. Cuevas enamored asked his new wife to apply color and indeed in the squares there is a yellowish tone that is repeated as a background, without nuances. I spoke with an admired plastic artist from Xalapan whose name I do not record so as not to involve him in criticism that could harm him before the institution where he works – which was, by the way, the one that brought the Cuevas to Xalapa – and he agreed with me: Cuevas no longer He experiments, he no longer takes risks, he fell into the pit opened for him by the Bitch Goddess, fame. And yet… he cast one of the most impressive statues of the 20th century: La Giganta.
Posted by Marco Tulio Aguilera at 13:47
Tags: Diary of MT, fame, Fernando Botero, Jose Luis Cuevas
With this I remember that a few days before Lourdes Chumacero died, while in her Zona Rosa Gallery, seeing my work, she said the same thing;” Cuevas is the same and the same” , she was very interested in representing my work but she passed away, unfortunately.
The Colombian plastic artist Fernando Botero has made 79 works on the torture of prisoners in Abu Ghraib, which he exhibits at the museum of the American University in Washington DC. Botero has stated that the reason for carrying out these works is none other than to “get rid of anger” at the “unacceptable” behavior of the US government.
The Tree, as a metaphor for life, an oil pastel by Alberto Thirion
During his stay in Washington, Fernando Boteromet José Luis Cuevas. Both artists remained there in permanent contact for a while, exchanging ideas and discussing concepts. Cuevas was an artist whose work, already defined by the particular approach with which he tackled his subject matter, was about to undergo a notable change in its plastic structure. A drawing of his dated March 29, 1957, titled Woman and man observing a piece of meat, clearly presents this transition: while the trunk of the woman on the left is a stain that barely suggests volume, both her extremities and the outline of the face they possess the express weakness and broken schematism of the period that he was beginning to overcome; for his part,Botero and Cuevas coincided at the time, not only in the transitory nature of their works, but also in the search that they both carried out ( Boterofrom Piero and Cuevas from his recently discovered Mantegna) to endow his figures with the plastic force that suited his expressive purposes. The man in the aforementioned drawing by Cuevas and Botero's character in El festin de Baltasar resembled each other in many ways in outward appearance. Not so inside, in the concept that separated one from the other: while Cuevas' figuration was full of pathos, Botero already showed signs of his unshakeable objectivity (12). From Washington, the Colombian went to New York to get to know the atmosphere of a city that was already the undisputed center of contemporary art in the capitalist world, taking that privilege away from Paris. Although he was already in decline nationally, 1957 was the year that de Kooning's abstract expressionism, Pollock and Kline reached the height of their worldwide impact. The Boatman who had been in Paris four years before and who had allowed himself to ignore Soulage and Hartung, was now shaken by the works of the Americans. Deep down, that tortured romanticism of his beginnings and a certain inclination for expressionism were still present in him. In De Kooning, the painter who most attracted him,Botero found fully realized what in Nolde and Orozco was loaded with dramatic excesses.
Reflections on contemporary art
I think these are the most interesting points of this writing:
In La enana (1957) Botero worked cautiously to avoid this inconsistency, but he did not get very far. However, in this painting his estrangement from Obregón was manifested as an important fact. A manifest distance in the abandonment of the fragmentation of pianos that, in the manner of Braque, placed all the details of the composition outside. In La enana, the head was the size of the thorax, but the parts of the face were in normal relationship to each other. The height was shortened by the expansion of the form to the sides, but this expansion was timid and ambiguous, avoiding the possibility that the mass acquired the form that the tremendous gravity of its weight demanded. Botero found, at this point in his trajectory, that all his efforts had led him to an area, never foreseen, in which the monstrous and the ugly flourished. His first reaction was rejection of the plastic system that gave these creatures their reason for being. Hence, La enana seems to us seated but in a way that her foreshortening does not define very clearly. A resource to present, justify and deny at the same time its anatomical structure. As a consequence of this rejection, the title of the work can then be understood as a literary pretext, behind which the artist hid to explain to us, in an unfounded naturalistic outburst, the evident deformation. The concern to avoid ugliness was resolved by Botero with the decorative use of color and with an inexplicable distance, in the case of La enana, from the monumental possibilities that the initial discovery theoretically offered. This was the origin of the new chromatic period that then began and the failed emphasis with which he tried to naturalize that humor that was already inherent in his figuration. In the same way that in La enana he tried to normalize contrapuntal deformations, in Don Nuño Bufón (1957) he proposed to give rise to the spontaneous smile that always welcomed his paintings.
12 The meeting of the two artists in Washington and the great formal approximation between their works during Botero's expressionist period, 1959-1962, has given rise to speculation according to which the figuration of the Colombian was derived from that of the Mexican. In the edition of México en la Cultura, Supplement for Always, March 10, 1971. CUEVAS declared, referring to the year 1958: “By that time I began to exert influence. The Colombian Fernando Botero, for example, 'premiered' his well-known style after seeing an exhibition of mine in New York in which I presented my Homage to Mantegna. Later, Botero received the influence even from 'hearsay', because he is constantly informed of what I am drawing”. I believe that the detailed analysis of the trajectory of Fernando Botero that I am testing here,
Well, very well, and what do people say? What do the people think?
because this is what is really important, the people are always right.
Question; Do you consider the work of Jose Luis Cuevas as a work of art?
According to Cuevas, the pictorial style of the Colombian painter Fernando Botero was adopted by him after being inspired by some drawings by Cuevas that he saw in NY. Photo: File/Excélsior
As I advance in my investigation of the work of Botero and Cuevas, I find more surprising things, like these!
And it is that as "Don Toño" says, Everything comes from money and everything goes to money; From 400 to 450,000 dollars, Latin American art for all pockets.
In my opinion, as a business, it leaves a lot to be desired. Football is better, Real Madrid paid 98,000,000 euros for Cristiano Ronaldo, this gives us an idea.
Obesity, a public health problem in Mexico
Of the 32 million overweight adults in Mexico, five million are at risk of becoming diabetic patients in the next five years, according to the World Health Organization
But Botero only gives him great pleasure.
Alberto Thirion 's Lost Items Compilation
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